flipped'and'broken'clave:' dancing'through'metric ... · pdf...

Flipped'and'Broken'Clave:'

Dancing'Through'Metric'Ambiguities'in'Salsa'Music'

'

Society'for'Music'Theory'Conference'

Milwaukee,'November'8,'2014'

'

Rebecca'SimpsonILitke'

University'of'Georgia'

[email protected]'

__________________________________________________________________________'

Brief Bibliography Bosse, Joanne. 2008. “Salsa Dance and the Transformation of Style: An Ethnographic Study of

Movement and Meaning in a Cross-Cultural Context.” Dance Research Journal 40/1: 45-64. Hutchinson, Sydney. 2004. “Mambo on 2: The Birth of a New Form of Dance in New York City.”

Centro Journal 16/2: 108–137. Leaman, Kara Yoo. 2013. “Analyzing Music and Dance: Balanchine’s Tschaikovsky Pas de Deux and

the Choreomusical Score.” Presented at the annual meeting of the SMT, Charlotte. Renta, Priscilla. 2004. “Salsa Dance: Latino/a History in Motion.” Centro Journal 16/2: 138-157. Simpson-Litke, Rebecca and Chris Stover. 2012. “In the Heat of the Moment: Rhythmic Interactions

between Salsa Music and Dance.” Presented at the annual meeting of the SMT, New Orleans. ____. 2012. “Theorizing Music/Dance Interactions in North American Salsa: A Consideration of

Multiple Entrainment Points.” Presented at the Congress on Research in Dance, Albuquerque.

Videos

1) Joe Arroyo – La Rebelión, Salsa Rhythm & Timing (https://www.youtube.com/watch?v=-d2jdSKOfLA&list=PLKseovyYjKOdEz3eSCKk-PyNNi4KNTnmB) 2) Salsa Champions Cali Style. London. (David, Johana, Saulo, Jesica) – dancing to Joe Arroyo’s “La Rebelión (https://www.youtube.com/watch?v=dRT0kLFwzOw) 3) Victor Manuelle – He Tratado (Live at MSG) (https://www.youtube.com/watch?v=yrUbOph-Gio) 4) Salsa in Fort Myers with Nery and Giana – dancing to Victor Manuelle’s “He Tratado” (https://www.youtube.com/watch?v=F1_EjWImoKo) 5) Oscar Naranjo & Melissa Mitro Social Dancing at Salsa on St.Clair 2012 – dancing to Grupo Niche’s “Cali Pachanguero” (https://www.youtube.com/watch?v=yiwL0pfcOAs)

Example 1. Footwork Patterns for Three Versions of the Salsa Basic (Single Dancer). '

'

'

'

! Spa

ce (P

ositi

on)

!!Spa

ce (P

ositi

on)

Example 1. Footwork Patterns for Three Versions of the Salsa Basic (Single Dancer). !

Dark Footprints = Active Feet (motion), Light Footprints = Inactive Feet (no motion) a) “On-One” Version – Breaks on Counts 1 and 5, Pauses on Counts 4 and 8. !!Time (Count)! ! 1! ! 2! ! 3! ! 4! ! 5! ! 6! ! 7! ! 8!!!!!! ! ! ! ! ! ! !! ! ! ! ! ! ! ! !!!!!!!!! ! ! ! ! ! ! !!!!!!!!!!!!!!!!!!!!!! ! ! ! !!!! ! ! !!! ! !Right Backward Left in Place Right Forward Left Forward Right in Place Left Backward (Break) (Pause) (Break) (Pause) !b) “On-Two” Version 1 – Breaks on Counts 2 and 6, Pauses on Counts 1 and 5. !!Time (Count)! ! 1! ! 2! ! 3! ! 4! ! 5! ! 6! ! 7! ! 8!!!!!! ! ! ! ! ! ! ! !! ! ! ! ! ! ! ! !!!!!!!!! ! ! ! ! ! ! !!!!!!!!!!!!!!!!!!!!!! ! ! !!!! ! ! !!! ! !!!!!!! Right Backward Left in Place Right Forward Left Forward Right in Place Left Backward (Pause) (Break) (Pause) (Break)

!! S

pace

(Pos

ition

)

Example 1 (cont’d) c) “On-Two” Version 2 – Breaks on Counts 2 and 6, Pauses on Counts 4 and 8, Anticipation of Counts 1 and 5 (or Delay of Counts 4 and 8).

!!Time (Beat)! ! !!!!!!!!!!!!1! ! 2! ! 3! !!!!!!!!!!!!4! ! 5! ! 6! ! 7! !!!!!!!!!!!!8!!!!!! ! ! ! ! ! ! ! !! ! ! ! ! ! ! ! !!!!!!!!! ! ! ! ! ! ! !!!!!!!!!!!!!!!!!!!!!! ! ! !!!! ! ! !!! ! !Left Backward Right Backward Left in Place Right Forward Left Forward Right in Place (Count 1 Anticipated?) (Break) (Pause) (Count 5 Anticipated) (Break) (Pause) (Count 8 Delayed?) (Count 4 Delayed) N.B. Examples 1a and 1b show footwork patterns from the follower’s perspective. To obtain the leader’s footwork, the two temporal halves of these

patterns must be switched (the spatial position shown for count 5 is performed on count 1 and so on). Example 1c, however, shows the footwork pattern from the leader’s perspective (in order to facilitate visual comparisons with Examples 1a and 1b). The follower’s footwork may be obtained by switching the two halves of the pattern.

Example 2. Video Demonstrations of Example 1.

http://dl.dropbox.com/u/30960038/Example4video.mov

a) “On-One” b) “On-Two” Version 1 c) “On-Two” Version 2 d) Comparison with Counting e) Comparison with Music (Clave Introduction)

Example 2. Contour and Durational Accents in Three Versions of the Salsa Basic (Single Dancer).

C = large contour accent c = small contour accent D = (interonset) durational accent R = right foot L = left foot N.B. The partner’s footwork features a large contour accent in the second measure of the pattern and a small contour accent in the first. Example 3. “On-One” Footwork Pattern (Dancing Couple).

'

{

{

{

{

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X a XJ ¥ X ¥ X X ¥ X a XJ ¥ X ¥ X X ¥ X a XJ ¥ X ¥ X X ¥ X a XJ ¥ X

X a XJ ¥ X ¥ X X ¥ a J ¥ X a XJ ¥ X ¥ X X ¥

44 ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥

¥44 ¥

44 J a a J J a a J

C D c D

3-2 groupings

R L R L R L

2-3 groupings

3-2 sonclave

on-1 basicfootwork(follower)

extra measure?missing measure?

C D c D

son clave


R L R L R L R L R L? R? L? R? L? R? R L R L R L

R L R L R L R L R R L R L R L

3-2 son clave


on-2-1 basicfootwork(follower)

on-2-2 basicfootwork(leader)

R L R L R L

C D c D

R L R L R L

! Lea

der P

ositi

on

!Follo

wer

Pos

ition

Example 4. “On-One” Footwork Pattern (Dancing Couple). !! Count! ! 1! ! 2! ! 3! ! 4! ! 5! ! 6! ! 7! ! 8!!!!!! ! ! ! ! ! ! !! ! ! ! ! ! ! ! !!!!!!!!! ! ! ! ! ! ! !!!!!!!!!!!!!!!!!!!!!! ! ! ! !! !! !! ! ! !!! ! Break Pause Break Pause

Example 4. a) Navigating a Broken Clave.

'

b) Navigating a Flipped Clave.

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{

{

{

{

X44 a XJ ¥ X ¥ X X ¥



44 ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥

¥44 ¥

44 J a a J J a a J

C D c D

3-2 groupings

R L R L R L

2-3 groupings

3-2 sonclave



C D c D

son clave




3-2 son clave




R L R L R L

C D c D

R L R L R L

{

{

{

{

X44 a XJ ¥ X ¥ X X ¥



44 ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥

¥44 ¥

44 J a a J J a a J

C D c D

3-2 groupings

R L R L R L

2-3 groupings

3-2 sonclave



C D c D

son clave




3-2 son clave




R L R L R L

C D c D

R L R L R L

Example 5 – Navigating Clave Breaks in Joe Arroyo’s “La Rebelión”

&?

## # ## # # #

&?

## # ## # # #

&?

## # ## # # #

cuan

Xj X £do'el

Xti-

Xra

X £no

Xman-

Xdo

X X# X X ¥ a XJ X X a XJ# a XJ D ¥las

Xj

Xcal-

Xles

Xde

X XJCar-

Xta

XJ Xge-

X Xnas

X X ¥ a XJ ¥ X a XJ D ¥ aa-

Xjquel-

XJla'his-

Xto-

XJ Xria

Xvi-

Xvio

X X X# X D

a XJ X X a XJ ¥Cuan-

X ado'a-

XJqui

X ¥ aIle-

Xga-

XJ XJban

Xe-

XJ Xsos

X ane-

XJgre-

Xro

X ¥ aAf-

Xri-

XJ XJca-

Xnos

XJ

a XJ ¥ X a XJ D ¥ aXj D D D a XJ X X a XJ a Xj D

D D a XJ ¥ X a Xj D D D

a XJ X X a XJ ¥ X a XJ X X X . XJ X X X . XJ X X X . XJ X X

a XJ ¥ X a¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥

19

25

31

Horns Voice Horns Voice

Horns Voice

VoiceHorns

R L R L R L R L R L R L R L R L R L


R L R // R L R L R L R L R L R L

Hypermetric*Disruption*(missing*measure?)*!Clave*Break*

&?

## # ## # # #

{{{{

{{{{

&?

# # # ## # # #

{{{{

{{{{

&?

# # # ## # # #

X .44 XJ X ¥ ¥ a XJ X X X . XJ X ¥ D

X £X X X £X´ X E . ¥ a XJ> ¥ X> a XJ> ¥ a XJ E

w w w wEn

Xjlos a- nos mil seis cien- tos

X £X X X ¥ a XJ a XJ a XJ X

X £X X X ¥ D

X £X X XJ X XJ X X X D

X .44 XjX ¥ ¥ a XjX X X . XjX ¥ D X . XJ X X X . XJ X X

X . XJ X X X . XJ X X X . XJ X X X . XJ X X a XJ> ¥ X> a Xj> ¥ a XjE

D D D D D D

¥44 ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

44 ¥ ¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥

7

13

Piano Horns

1, 3. 2. 4.

Voice (8vb)

Bass

Clave 2-3

On-1 Footwork (Follower)




&8

?

b b b

b b b

&8

?

b b b

b b b

&8

?

b b b

b b b

No

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Xva-

Xyas,

Xno

Xte

Xvoy

Xa

Xre-

Xpro-

Xchar,

XU-

Xna

Xco-

X Xsa

Xso-

Xlo quie-

Xro

Xpre-

Xgun-

X

tar

XCo-

Xmo

Xpue-

Xdes

Xol-

Xvi-

Xdar-

Xte

Xde

Xlo

Xnue-

X .stro'Y yo

Xno

Xpue-

X .do'ha-

XJ Xcer

Xi-

X

gual

X ¥ ¥He

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Xta-

Xdo

Xde'ol-

Xvi-

Xdar-

Xte'en

Xo-

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Xmor

X ¥ D D ¥Y

X .no

Xpue-

E Xdo

X X

( )X ( )E

( )X ( )E XJ X

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X ¥ ¥ Xn X ¥ ¥ Xn X ¥ ¥ X X ¥ ¥ X

X X X X X . XJ X X X X . XJ X X XE ~~~~~ X ¥ DX

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¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ D a J ¥

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¥ ¥ ¥ ¥

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4

8

Voice

Bass

(Piano)

(Horns)

(Horns)

Clave 3-2

R L R L R L R L R

L R L R L R L R L R L R

L R L R L R L R L ( R? L? R? ) // R L R


&8

?

b b b

b b b

&8

?

b b b

b b b

&8

?

b b b

b b b

No

X44te

Xva-

Xyas,

Xno

Xte

Xvoy

Xa

Xre-

Xpro-

Xchar,

XU-

Xna

Xco-

X Xsa

Xso-

Xlo quie-

Xro

Xpre-

Xgun-

X

tar

XCo-

Xmo

Xpue-

Xdes

Xol-

Xvi-

Xdar-

Xte

Xde

Xlo

Xnue-

X .stro'Y yo

Xno

Xpue-

X .do'ha-

XJ Xcer

Xi-

X

gual

X ¥ ¥He

Xtra-

Xta-

Xdo

Xde'ol-

Xvi-

Xdar-

Xte'en

Xo-

Xtro'a-

Xmor

X ¥ D D ¥Y

X .no

Xpue-

E Xdo

X X

( )X ( )E

( )X ( )E XJ X

X44 X ¥ ¥ X X ¥ ¥ X X ¥ ¥ X

X ¥ ¥ Xn X ¥ ¥ Xn X ¥ ¥ X X ¥ ¥ X


44 a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ D a J ¥

¥44 ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ D ¥

4

8

Voice

Bass

(Piano)

(Horns)

(Horns)

Clave 3-2

R L R L R L R L R


L R L R L R L R L ( R? L? R? ) // R L R


&8

?

b b b

b b b

&8

?

b b b

b b b

&8

?

b b b

b b b

( )X ( )E .He

Xtra-

Xta-

Xdo

Xde'ar-

Xran-

Xcar-

Xme

Xde

Xla

Xpiel

X .a-

XJ Xquel-

X Xlos

Xbe-

X .sos

XJ X a ( )XJ

( )XJ a( )XJ a ( )XJHe

Xtra-

X( )Xta-

Xdo

Xde

Xen-

Xcon-

Xtrar'un

Xnue-

Xvo'a-

Xmor

X ¥ D DEn

X£o-

Xtro

X

cuer-

X .po

XJ E D ¥Y

Xlo

Xu-

Xni-

Xco

Xque

Xha-

Xgo'es

Xre-

Xcor-

Xdar

X .Que

XJ Xno

X Xte

X

( )X

a

X . XJ X X X X . XJ X X X X . XJ X X X X . XJ X X X

X . XJ X X X X . Xj X X

E X X X . XJ X X X . XJ X X X . XJ X X

E ~~~~~~~ X ¥X D

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ D

a J ¥ ¥ ¥ a J ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ D

¥ ¥ ¥ ¥

13

17

21

(Horns)

(Horns)

(Piano)


L R L R L R L R L ( R? L? R? ) //

R L R L R L R L R L R L

&8

?

b b b

b b b

&8

?

b b b

b b b

&8

?

b b b

b b b

( )X ( )E .He

Xtra-

Xta-

Xdo

Xde'ar-

Xran-

Xcar-

Xme

Xde

Xla

Xpiel

X .a-

XJ Xquel-

X Xlos

Xbe-

X .sos

XJ X a ( )XJ


Xtra-

X( )Xta-

Xdo

Xde

Xen-

Xcon-

Xtrar'un

Xnue-

Xvo'a-

Xmor

X ¥ D DEn

X£o-

Xtro

X

cuer-

X .po

XJ E D ¥Y

Xlo

Xu-

Xni-

Xco

Xque

Xha-

Xgo'es

Xre-

Xcor-

Xdar

X .Que

XJ Xno

X Xte

X

( )X

a




E ~~~~~~~ X ¥X D

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ D

a J ¥ ¥ ¥ a J ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ D

¥ ¥ ¥ ¥

13

17

21

(Horns)

(Horns)

(Piano)


L R L R L R L R L ( R? L? R? ) //


&8

?

b b b

b b b

&8

?

b b b

b b b

&8

?

b b b

b b b

( )X ( )E .He

Xtra-

Xta-

Xdo

Xde'ar-

Xran-

Xcar-

Xme

Xde

Xla

Xpiel

X .a-

XJ Xquel-

X Xlos

Xbe-

X .sos

XJ X a ( )XJ


Xtra-

X( )Xta-

Xdo

Xde

Xen-

Xcon-

Xtrar'un

Xnue-

Xvo'a-

Xmor

X ¥ D DEn

X£o-

Xtro

X

cuer-

X .po

XJ E D ¥Y

Xlo

Xu-

Xni-

Xco

Xque

Xha-

Xgo'es

Xre-

Xcor-

Xdar

X .Que

XJ Xno

X Xte

X

( )X

a




E ~~~~~~~ X ¥X D

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ D

a J ¥ ¥ ¥ a J ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ D

¥ ¥ ¥ ¥

13

17

21

(Horns)

(Horns)

(Piano)


L R L R L R L R L ( R? L? R? ) //


&8

?

b b b

b b b

&8

?

b b b

b b b

&8

?

b b b

b b b{{{{

ten-

Ego

Xn £X X E . X X w

D D DQue

XJ Xno

X Xte

X

ten-

Ego

Xn £X X E . X X

X X X X X X X X X . Xj X X X X

¥ .

X X X X X X X X X X X X X X XX . XJ X X X . XJ X X X X . XJ X X X . Xj X X

X X X X X X X X X . XjX X X X X X X X X X X X X . XjX X X X

X X X X X X X X X ¥ D

X . XJ X X X X X X X X X X X X X X X X X X X X X X X X X X X

X X X X X X X X X X X X X X X

a J ¥ ¥ ¥ a J ¥ ¥ ¥¥ ¥ ¥ ¥

25

29

33

Horns


Example 6 – Navigating Clave Pauses in Victor Manuelle’s “He Tratado” (beginning at 0’54)

*

Hypermetric*Disruption*(extra*measure?)*Paused*Clave*

*

&8

?

b b b

b b b

&8

?

b b b

b b b

&8

?

b b b

b b b

No

X44te

Xva-

Xyas,

Xno

Xte

Xvoy

Xa

Xre-

Xpro-

Xchar,

XU-

Xna

Xco-

X Xsa

Xso-

Xlo quie-

Xro

Xpre-

Xgun-

X

tar

XCo-

Xmo

Xpue-

Xdes

Xol-

Xvi-

Xdar-

Xte

Xde

Xlo

Xnue-

X .stroY yo

Xno

Xpue-

X .doha

XJ Xcer

Xi-

X

gual

X ¥ ¥He

Xtra-

Xta-

Xdo

Xdeol-

Xvi-

Xdar-

Xteen

Xo-

Xtroa-

Xmor

X ¥ D D ¥Y

X .no

Xpue-

E Xdo

X X

( )X ( )E

( )X ( )E XJ X

X44 X ¥ ¥ X X ¥ ¥ X X ¥ ¥ X

X ¥ ¥ Xn X ¥ ¥ Xn X ¥ ¥ X X ¥ ¥ X


44 a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ D a J ¥

¥44 ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ D ¥

4

8

Voice

Bass

(Piano)

(Horns)

(Horns)

Clave 3-2

R L R L R L R L R


L R L R L R L R L ( R? L? R? ) R L R


&8

&

b b

b b{

{{{

&8

&

b b

b b{{{{

{{{{

&8

&

b b

b b{

{{{

Mas com- pli- ca- cio- nes yo no quie- ro pa- ra que

Li- be- re Me li- be- re


D X%

X X X X X X X X X X X X ¥

X X X X X X X X X X X X X ¥ XjX X X X X X X ¥

a Xj X X X X X X X ¥%

D a Xj X X

a

X X X X X X ( )X

X X X X X X X X X X X X X ¥ D

X X D X X X . XJ X ¥D

D D

D

¥ ¥

¥ ¥

¥

¥ a J ¥ ¥

a J ¥ ¥ a J ¥ ¥

a J ¥ ¥ a J ¥

R? L? R? R L R L R L

¥

R L R L R L

¥R L R L R L

¥

R L R L R L

¥R? L? R?

¥ ¥

¥ ¥

¥ ¥

(2nd time alternative ending) B

(varied with each repeat)

C

back to

Que yo no

(back to beginning of excerpt)

3-2

(Si) (yo)

(Me) (li- be- re)

&8

&

b b

b b{

{{{

&8

&

b b

b b{{{{

{{{{

&8

&

b b

b b{

{{{

Mas com- pli- ca- cio- nes yo no quie- ro pa- ra que



D X%

X X X X X X X X X X X X ¥

X X X X X X X X X X X X X ¥ XjX X X X X X X ¥

a Xj X X X X X X X ¥%

D a Xj X X

a

X X X X X X ( )X

X X X X X X X X X X X X X ¥ D

X X D X X X . XJ X ¥D

D D

D

¥ ¥

¥ ¥

¥

¥ a J ¥ ¥

a J ¥ ¥ a J ¥ ¥

a J ¥ ¥ a J ¥

R? L? R? R L R L R L

¥

R L R L R L

¥R L R L R L

¥

R L R L R L

¥R? L? R?

¥ ¥

¥ ¥

¥ ¥

(2nd time alternative ending) B


C

back to

Que yo no

(back to beginning of excerpt)

3-2

(Si) (yo)

(Me) (li- be- re)

Example 7 – Navigating Clave Flips in El Gran Combo’s “Me Liberé” (beginning at 2’56)

Form of Entire Excerpt = ||: A :||: B :||: C :||: B :||: C :||: A :|| *

**Hypermetric*Disruption**********!***Clave********(extra*measure?)* * *****Flip*

*

*****Hypermetric*Disruption*!*Clave***************(extra*measure?)***************Flip** * * Back*

&8

&

b b

b b{

{{{

&8

&

b b

b b

&8

&

b b

b b{

{{{

Que

44yo no quie- ro mas com- pli- ca- cio- nes Por e- so me

li- be- re Me li- be- re

D . aMe li- be- re

¥ D aQue yo no

X X X X X X X X X X X X X X X X X X

X X X X X a Xj X X X X X ¥

Xj X X X X X Xj X X

XJ X X X X X a

a44 ¥ D D

D D D a Xj X X

X X X X X ¥ D a XJ X X X a XJ X ¥

44 ¥

¥ ¥

¥

¥ a J ¥

¥ a J ¥ ¥

a J ¥ ¥ a J ¥

44 ¥R L R L R L

¥

R L R L R L

¥R L R

L R L

¥R L R L R L

¥

¥

¥ ¥

¥

A Voices


(1st time only)

Horns

Clave 2-3


Example 8 – Phrase Structure and Hypermetric Analysis of Grupo Niche’s “Cali Pachanguero”

missing&2&measures?

Instrumental&Introduction &&&Grouping&Dissonance Ca7* * * ** * * * * * ** * * * * * * * * * * * *1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

Ca7 Ca7 Ca7 man7 rar gue val* * *

* * * * * * ** * * * * * * * * * * * *27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52

Ca7 Ca7 Ca7 Ca7 es7 du7* * ** * * * * *

* * * * * * * * * * * * *53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78

missing&measure?To7 si cuan7 extra&3&measures? mun7 toy mun7* (*) * ** * * * * * ** * * * * * * * * * * * * *79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104

toy me las mun7 toy que fon7* * *

* * * * * * ** * * * * * * * * * * * *

105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130

***^*

********^*

Example 8 (cont’d)

mun7 toy cla7 mer7 mun7 toy* * ** * * * * *

* * * * * * * * * * * * *131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156

quil7 York mun7 toy mil7 Ca7* * * ** * * * * * ** * * * * * * * * * * * *

157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182

guitar&+&bass (extra?) Displacement&Dissonance &&&&(extra?) brass&melody* x * x x

* * x * x * x x x* * * * x * x * x * x * x x x x x

183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208

guitar&+&bass (extra?) Displacement&Dissonance (ex7x * * x * xx x * * * x * x * xx x x x * * * * * x * x * x * x * x

209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234

missing&measure?

tra?) brass&melody cadencex x xx x x x xx x x x x x x x x x

235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254

***^*

&

?

b b b

b b b

&

?

b b b

b b b

&8

?

b b b

b b bCa- li Pa- chan- gue- ro

XnX XX XX XX EE X .X . XjX XX

XjX X a XjX X a Xj X X a XjX X . XjX ¥ X . XjX ¥

X .X . XjX XX ¥ EE X .X . XjX XX XnX XjX

a XJ X X . XJ Xa XJ X X- a XJ X X- a XJ X X- a XJ X

X- a XJ X X XJ X X XJ X X XJ X X . XJ X X . XJ X

XJX XX ¥ X X Xn X X

X X X X XJ a X X X X XJ a X aØXjX X- a XjX X- a Xj X X- a XjX

X-a XjX X- a XjX X- a Xj X X- a XjX X .- Xj- X

¥ X .- Xj- X ¥

X . XJ X X X . XJ X X X X X X XJ a X X X X XJ a

a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥

¥ ¥

13

18

23 Voices Horns


Option 1: R L R L R L R L? R? L? R? L? R? L? R?

Option 2: R L R L R L R (L R) L (R L) R (L R) L (R L)

L? R? L? R? L? R? L? R? L? R L R L R L

R (L R) L (R L) R (L R) L (R L) R L R L R L

&

?

b b b

b b b

&

?

b b b

b b b

&8

?

b b b










¥ X .- Xj- X ¥


a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥

¥ ¥

13

18

23 Voices Horns






&

?

b b b

b b b

&

?

b b b

b b b

&8

?

b b b










¥ X .- Xj- X ¥


a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥

¥ ¥

13

18

23 Voices Horns






Example 9 – Navigating Grouping Dissonance in “Cali Pachanguero” (mm.1-26)""""""""""""""""""""""""""""""""""""""""""(missing"2"measures?) Grouping"Dissonance"

&

?

b b b

b b b

&

?

b b b

b b b

&

?

b b b

b b b

X44 X XX XX XX XX EE X .X . XjX XX X X

XnX XX XX XX EE X .X . XjX XX ¥ D D X X

XX XX XX XX EE X .X . XjX XX ¥ D D X X

a XJ¥X DX . XJ

DX X X X X

a XJ X X . XJ X X X X X


44 X . XJ X X X . XJ X X X X X X XJ a X X X X XJ a

X X X X XJ a X X X X X X X X X X a XJ X X X X ¥


DØ

44 D a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

44 D ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

5

9

Bass

Horns

Clave 3-2





&

?

b b b

b b b

&

?

b b b

b b b

&

?

b b b

b b b

X44 X XX XX XX XX EE X .X . XjX XX X X

XnX XX XX XX EE X .X . XjX XX ¥ D D X X

XX XX XX XX EE X .X . XjX XX ¥ D D X X

a XJ¥X DX . XJ

DX X X X X



44 X . XJ X X X . XJ X X X X X X XJ a X X X X XJ a

X X X X XJ a X X X X X X X X X X a XJ X X X X ¥


DØ

44 D a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

44 D ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

5

9

Bass

Horns

Clave 3-2





&

?

b b b

b b b

&?

b b b

b b b

&

?

b b b

b b b

Si

X .44su-

XJpie-

Xras

X Xla

Xpe-

Xna

X Xque'un

Xdi-

X£a

Xsen-

Xti

w D

cuan-

X .do'en

XJfren-

X£te

Xde

Xmi

X£tus

Xmon-

Xta-

X£nas

Xno

Xvi

w D

¥ .Que

XJto-

X-do,

Xque

Xto-

X-do,

Xque

Xto-

X-do,

Xque

Xto-

X-do,

Xque

X> ¥ .Que

XJto-

X-do

Xel

Xmun-

X

X .44 XJ X X X X X X ¥ X . XJ X X X X X X ¥

w w X X X X X X X w

X> ¥ D XJ> DD ¥ .

44

¥ D D D

a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

44 ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

¥ D D ¥ . J D

83

87

91

Voice

Horns

Clave 3-2




Option 1

R? L? R? L? R? L? R? L? R? //

Option 2 (Video)

Neck Drop (down) (up)

Example 10 – Navigating a Clave Pause in “Cali Pachanguero” (mm.83-101) ****************************** *

&

?

b b b

b b b

&?

b b b

b b b

&

?

b b b

b b b

Si

X .44su-

XJpie-

Xras

X Xla

Xpe-

Xna

X Xque'un

Xdi-

X£a

Xsen-

Xti

w D

cuan-

X .do'en

XJfren-

X£te

Xde

Xmi

X£tus

Xmon-

Xta-

X£nas

Xno

Xvi

w D

¥ .Que

XJto-

X-do,

Xque

Xto-

X-do,

Xque

Xto-

X-do,

Xque

Xto-

X-do,

Xque

X> ¥ .Que

XJto-

X-do

Xel

Xmun-

X

X .44 XJ X X X X X X ¥ X . XJ X X X X X X ¥

w w X X X X X X X w

X ¥ D XJ> DD ¥ .

44

¥ D D D

a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

44 ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

¥ D D ¥ . J D

83

87

91

Voice

Horns

Clave 3-2




Option 1

R? L? R? L? R? L? R? L? R?

Option 2 (Video)

Neck Drop (down) (up)

Hypermetric*Disruption*(extra*3*measures?)*–*Paused*Clave*

&

?

b b b

b b b

{

{{{

&

?

b b b

b b b

{

{{{

&

?

b b b

b b b

Xdo

Xte

Xcan-

X Xte

X X ¥ .Que

XJto-

Xdo

Xel

Xmun-

X Xdo

Xte

Xmi-

X Xme

Xn X ¥ .ce-

Xjlo-

Xso

Xes-

Xtoy

X

Xpa'

Xque

Xnmi-

X Xres,

X X ¥ .no

Xjme

Xvoy

X Xmas

X Xni

Xpor

Xmi-

X Xles.

X X ¥ .Que

XJto-

Xdo

Xel

Xmun-

X

XJ

X . XJ X X X . XJ X X X . XJ X Xn X . XJ X Xn

X . XJ X Xn X . XJ X Xn X . XJ X Xn X . XJ X X

a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

94

98

102

Voice(s)

Bass

Clave 3-2




&8

?

b b b

b b b

&8

?

b b b

b b b

&

?

b b b

b b b

{

{{{

{

{{{

A

Xj44mil-

Xlas

X Xsien-

X Xto

Xte'a-

Xro-

X Xma

X X ¥ aCuan

XJ Xquie-

Xra

Xjus-

X Xto

Xra-

Xzo-

X Xna

X X ¥ aque

XJ

Ca-

Xlies

X XCa-

Xli

Xse-

Xno-

X Xras,

Xse-

Xno-

X Xres

X X alo

XJ Xde-

X Xmas

X Xes

X Xlo-

X Xma

E

¥% ¥ ¥ ¥ ¥ ¥ ¥D D ¥ D D

44 X . XJ X X X . XJ X X X . XJ X X X . XJ X X

X . XJ X X X . XJ X X X . XJ X X X .

¥ a

XjX . Xj

X X X X X X X X X X X X X X X X X Xj X . Xj

XJ X . XJ

X X X X X X ¥ X X X X X X X X X X X XJ X . XJ

44 a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

a J ¥ ¥ ¥ a J ¥ ¥ ¥

44 ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

178

182

Voice

Claps

Bass

Bass

Guitar

Clave 3-2





&?

b b bb b b

{{{{

&

?

b b b

b b b

X X X X X X X X X X X E X . XJ E D%

E D2. ¥ ¥D

X .XjX X X . XJ X X E X . XJ X . XJ X X

X . Xj X X X X X X X X XXJ X X X X X X X X X

¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ a J ¥

¥ ¥ ¥ ¥

¥ ¥

205

209 Claps

Guitar

Bass 3-2


2nd time back to

&&

?

b b bb b b

b b b

{{

{{{

{

{{

{{{

{

&

?

b b b

b b b

{

{{{

X> X X X X ¥ D X X X X X X X X X D a XJ X X X X X X E D

X> X D D X X X X X ¥ D

¥ a

¥ X . XJ X X X . XJ X X X . XJ X X X X . XJ XX

X X X X X X X X X X X X X X X X X XjX . Xj X X X X X X

X X X X X X X X X X X

X X X X X X ¥ X X X X X X X X X X X XJ X . XJ X X X X X X


¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥

X> X X X X ¥ D a XjX X X X X X X X X

a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

190

199

Horns (2nd time)

Horns (1st time)

Horns Horns + Flute

Guitar + Bass Bass

R L R L? R? L? R? L? R? // R L R L R L

Footwork (1st time)

Footwork (2nd time)



Clave 2-3?Clave 3-2?

Clave 2-3

&&

?

b b bb b b

b b b

{{

{{{

{

{{

{{{

{

&

?

b b b

b b b

{

{{{

X> X X X X ¥ D X X X X X X X X X D a XJ X X X X X X E D

X> X D D X X X X X ¥ D

¥ a

¥ X . XJ X X X . XJ X X X . XJ X X X X . XJ XX

X X X X X X X X X X X X X X X X X XjX . Xj X X X X X X


X X X X X X ¥ X X X X X X X X X X X XJ X . XJ X X X X X X


¥ ¥ a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

¥ ¥ ¥ ¥ ¥

¥ ¥ ¥ ¥

¥ ¥ ¥ ¥ ¥ ¥

X> X X X X ¥ D a XjX X X X X X X X X

a J ¥ ¥ ¥ a J ¥ ¥ ¥ a J ¥

190

199

Horns (2nd time)

Horns (1st time)

Horns Horns + Flute

Guitar + Bass Bass

R L R L? R? L? R? L? R? // R L R L R L

Footwork (1st time)

Footwork (2nd time)



Clave 2-3?Clave 3-2?

Clave 2-3

Example 11 – Navigating Clave Flips in “Cali Pachanguero” (m.174-end) ****

**Hypermetric***************Shift** &***************Clave***************Flip?*!*

flipped'and'broken'clave:' dancing'through'metric ... · pdf...

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